Eddy Firmin

Untitled

2020

The first decades of the 21st century shaped the period of reconfiguration of the "world order", according to Pedro Pablo Gómez1, into three options: "rewesternalization, dewesternal...

Les couleurs de la terre is the first joint exhibition by artist duo Hélène et son mari, composed of ceramist Hélène Chouinard and multidisciplinary artist Jean-Robert Drouillard. Co...

Text by Terence Sharpe There is a moment in Andrei Tarkovsky’s Solaris (1972) when the character Hari commits suicide by drinking liquid oxygen. As she is not actually a human, but an artificial hybrid product of the mysterious planet and the protagonists’ memories, she heals rapidly and is alive again minutes later. Her choice to take her own life is poignant, seemingly the action of a being becoming aware of its hopeless infinitude. Her realization that while the men will die on the space station or elsewhere, her existence is that of immortality, a deeply alienating notion that causes her to seek her own destruction. The Montreal artist Guillaume Lachapelle has one work that prompts a sense of eternal alienation that echoes Hari’s tragedy. The work greets the viewer with a empty doorway flanked by clinically white bookshelves...

Beyond Sociology: The Act of Seeing a Person Text by Edwin Janzen It is hardly surprising that in our society perceptions of homeless persons remain two-dimensional, stereotypical, inadequate. Even for the rare administration tackling the problems of homelessness in an effective, meaningful way, the homeless person’s humanity is buried beneath a mountain of endless statistical markers: mental illness, substance abuse, soup-kitchen attendance, etc. The enormous negativity lingering about the resultant profile permits scant room for other, arguably important accoutrements of the human experience—character, emotion, intellect, beauty, relationship to divinity—and leaves homeless persons basically where they already are: on the street, the objects of middle-class loathing or pity. Struck by this depressing determinism, artist Bevan Ramsay set out to cast portrait busts of homeless persons (one woman, the others men), producing an edition in fine, white statuary Hydrocal plaster mounted on mahogany bases. These portraits, titled Lesser Gods...

Guillaume Lachapelle’s artistic practice is shaped predominantly by sculpture, expressed in the form of installations and detailed miniature models. Lachapelle presents playful unive...

Colleen Wolstenholme’s work has the ability to engage and provoke viewers by piquing the social conscious. She’s a prolific artist with of an impressive oeuvre of intriguing art work...

Elizabeth Jordan is an artist working primarily in sculpture and whose work uses multiple materials to produce unique, organic forms. In addition to a solo and group shows at Ivy Brown Gallery, she has exhibited at The American Academy of Arts and Letters, the Nassau County Museum of Art, The Cornell Art Museum in Delray Beach, Florida and the New York Artists Equity Gallery. In 2023, she received a 2023 Fellowship from the New Jersey State Council on the Arts in sculpture, and in 2022 was awarded the Alex J...

Inspired by amateur archaeologists such as Heinrich Schliemann who discovered Troy and by past elaborate hoaxes like that of the Piltdown Man, Joshua travels the world performing sta...

DANIEL ARSHAM Hourglass (Blue), 2019 Glass, sand, cast miniature camera and quartz crystal in opaque white resin accompanied by its original box with guara...

The Palace at 3am (2022) by Gary Sczerbaniewicz. Wood, laser cut & etched chipboard, latex, plaster, and cast plastic.

"Father and Son Used Tires" is a wall-hanging paper sculpture by American artist Drew Leshko measuring 12”h x 22.125”w x 8”d. It is made from paper, enamel, acrylic, basswood, wire,...

This sculpture titled "Diamond Pawn" is an original artwork by Drew Leshko made of a variety of paper, acrylic, pastel, plastic, wire, plaster, inkjet prints, basswood. This piece me...